T H E S I X T Y- S I X T H S E A S O N OCTOBER 4 NOVEMBER 15 DECEMBER 20 FEBRUARY 14 APRIL 4 M AY 2 2 2013–14
NOVEMBER 15
INAUSPICIOUS BEGINNINGS Lawrence Golan, conductor James Buswell, violin Beethoven: Fidelio Overture Barber: Violin Concerto Tchaikovsky: Symphony No. 5
201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443 www.facebook.com/newberrybros
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WELCOME! With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach. Our orchestra was founded in 1948 as the
performed for eleven seasons, followed by
Denver Businessmen’s Orchestra by Dr.
a season under interim director Kirk Smith.
Antonia Brico, the first woman to conduct the Berlin Philharmonic, the New York
In 1999 Dr. Horst Buchholz, Professor of
Philharmonic and several other major
Music at the University of Denver and an
orchestras. The two major issues driving
acclaimed musician and conductor, was
establishment of the orchestra were a
selected as the orchestra’s new Music
need for affordable classical music con-
Director. This began a period of growth
certs in the Denver area and the need for
and success that continues today. To more
an organization that would nurture, devel-
accurately reflect our Denver roots, the
op and showcase the talents of classically
Centennial Philharmonic was renamed the
trained musicians, many of whom had
Denver Philharmonic Orchestra in 2004.
relocated to Denver following World War
Horst remained Music Director/Conductor
II. The orchestra quickly became known
through the 2008–09 Season, after which
for its ambitious collaborations and per-
he was appointed the orchestra’s first
formances. In 1968, to honor its founder,
Conductor Laureate.
the name of the orchestra was changed to the Brico Symphony, and the tradition of
Adam Flatt was appointed the orchestra’s
musical excellence and community service
fourth Music Director/Conductor in June
continued.
2010. Adam’s dynamic and inspiring leadership over the next three years
Following Antonia’s retirement in 1986,
further increased the artistic quality of the
the orchestra selected Julius Glaihengauz
orchestra.
as its second Music Director. Julius was a talented Russian immigrant who
In spring of 2013, award-winning conduc-
recently graduated from the Tchaikovsky
tor Dr. Lawrence Golan was selected as our
Conservatory. Under his new leadership,
orchestra’s fifth Music Director. Lawrence
the name of the orchestra was changed
first led the DPO as a guest conductor in
to the Centennial Philharmonic and
November 2009.
NEW BEGINNINGS 3
FRIDAY, NOVEMBER 15, 2013 INAUSPICIOUS BEGINNINGS KPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor James Buswell, violin
Ludwig van Beethoven
Fidelio Overture, Op. 72c
(1770 – 1827)
Samuel Barber
Violin Concerto, Op. 14
(1910 – 1981) Allegro
Andante Presto in moto perpetuoso
∙ 15-MINUTE INTERMISSION ∙ Pyotr Ilyich Tchaikovsky
Symphony No. 5 in E Minor, Op. 64
(1840 – 1893)
Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse. Allegro moderato Finale. Andante maestoso – Allegro vivace
MEET THE MUSICIANS
Join us for a reception on the lower level after the concert. 4
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SUNDAY CLASSICAL MUSIC 7:00 – 10:00 PM KPOF — 910 AM
Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, Nov. 24 for an encore of tonight’s Denver Philharmonic performance! Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many performances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.
NEW BEGINNINGS 5
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013 –1 4 OCTOBER 4
FEBRUARY 14
Lawrence Golan, conductor Daniel Morris, bass trombone Boyer: New Beginnings Brubeck: Concerto for Bass Trombone and Orchestra Dvorak: Symphony No. 9 “New World”
Lawrence Golan, conductor Linda Wang, violin Tchaikovsky: Sleeping Beauty Suite Chen and He: The Butterfly Lovers Violin Concerto Prokofiev: Romeo and Juliet Suite No. 2
NEW BEGINNINGS
NOVEMBER 15
INAUSPICIOUS BEGINNINGS Lawrence Golan, conductor James Buswell, violin Beethoven: Fidelio Overture Barber: Violin Concerto Tchaikovsky: Symphony No. 5 in E Minor
DECEMBER 20
NOELS & NEW YEAR
Adam Flatt, guest conductor Marcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from The Snow Maiden Prokofiev: Troika from Lt. Kije Suite Kuzma: “Against the winter wind” Handel: Messiah “But who may abide the day of his coming” Hayen: Maltese Winter Holiday favorites and sing-alongs
YOUNG LOVE
APRIL 4
NEW FORMATIONS & MYSTERIOUS MOUNTAINS
Lawrence Golan, conductor Joshua Sawicki, piano Mussorgsky/Rimsky-Korsakov: Night on Bald Mountain d’Indy: Symphony on a French Mountain Air Hovhaness: Mysterious Mountain; Symphony No. 2 Nytch: Formations; Symphony No. 1 Denver premiere performance, co-commissioned by the DPO
MAY 22
NEW FRONTIERS
Lawrence Golan, conductor Daugherty: Krypton Hovhaness: Celestial Fantasy Holst: The Planets
Concerts begin at 7:30 pm at KPOF Hall, 1340 Sherman Street, Denver, CO 80203
NEW BEGINNINGS 7
OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTOR Kornel Thomas
FIRST VIOLIN
Katherine Thayer, concertmaster Patsy Aronstein Matthew Grove Thomas Jatko Nasiha Khalil Tenley Mueller Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall
SECOND VIOLIN Yiran Li, principal Niccolo Werner Casewit Pauline Dallenbach Loribeth Gregory Terri Gonzales Miki Heine Annie Laury Alyssa Oland Roger Powell Anne Silvas Albert Ting
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VIOLA
William Hinkie, III, principal Andrew Grishaw * Lori Hanson Lindsay Hayes * Ben Luey Elizabeth O’Brian Maura Sullivan * Travis Rollins *
CELLO
Annastasia Psitos, acting principal Naftari Burns Rebecca Coy Linda Lebsack Ausra Mollerud Monica Sáles Mark Stanton Amanda Thall Andreas Werle Tara Yoder
BASS
Mark Stefaniw, principal Lucy Bauer Josh Filley Taryn Galow Joey Pearlman
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FLUTE
TRUMPET
Aaron Wille, principal Starla Doyal Whitney Kelley
Ryan Spencer, principal Joe Smith*, assistant principal Randy Runyan Tyler Van Dam
PICCOLO
TROMBONE
Whitney Kelley
Bryan Gannon, principal Wallace Orr
OBOE
Kimberly Brody, principal Loren Meaux, assistant principal
BASS TROMBONE Daniel Morris
CLARINET
TUBA
Brooke Hengst Claude Wilbur
Darren DeLaup
BASSOON
TIMPANI
Ken Greenwald, principal Nicholas Lengyel
Steve Bulota, principal
PERCUSSION
FRENCH HORN
Susie Carroll
David Wallace, principal Mark Denekas Jeanine Wallace Kelli Hirsch Mary Brauer
PIANO Margo Hanschke *
* guest performers
NEW BEGINNINGS 9
DR. LAWRENCE GOLAN MUSIC DIRECTOR, CONDUCTOR The 2013–14 Season marks the beginning of Lawrence Golan’s tenure as Music Director of the Denver Philharmonic Orchestra. It is also his first year as Principal Conductor of the Seoul Philharmonic in South Korea. He continues as Music Director of the Yakima Symphony Orchestra in Washington State and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. Lawrence has garnered considerable international recognition for his work as a conductor. He has won nine ASCAP Awards, five Global Music Awards, three American Prize awards, three Downbeat Magazine Awards, and two Prestige Music Awards. Lawrence’s appointment in Yakima came on the heels of a very successful four-year term as Resident Conductor of The Phoenix Symphony. In 2012, Lawrence was named the Grand Prize Winner of The American Prize for Orchestral Programming. Several of the concerts that Lawrence programmed, conducted, and narrated with The Phoenix Symphony turned out to be the most financially successful and well-attended performances in the history of the orchestra, completely selling out triple concert sets in a 2200-seat hall. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the United States and around the world. Having conducted in 25 states and 16 countries, recent engagements include performances in Boulder, Macon, Memphis, and Tucson as well as the Czech Republic, Italy, Korea, Taiwan, and a three-week tour of China with the American Festival Orchestra.
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A native of Chicago, Lawrence holds degrees in both conducting and violin performance from Indiana University’s Jacobs School of Music (B.M. and M.M.) and the New England Conservatory of Music (D.M.A.). In addition, he studied at all of the major conducting festivals including Aspen and Tanglewood, where in 1999 he was awarded the Leonard Bernstein Conducting Fellowship. Following in the footsteps of his father Joseph Golan, longtime Principal Second Violinist of the Chicago Symphony Orchestra, Lawrence was Concertmaster of the Portland Symphony Orchestra for eleven years and has appeared as soloist with numerous orchestras, including the Chicago Symphony. Lawrence has made several critically acclaimed recordings, both as a conductor and a violinist. He has also been published as a writer, composer, editor and arranger. Lawrence and his wife Cecilia have been married since 2003. They have two wonderful children, Giovanna and Joseph. For more information, please visit LawrenceGolan.com or WilliamReinert.com.
NEW BEGINNINGS  11
JAMES BUSWELL VIOLIN James has performed as a solo violinist with virtually all of the major orchestras in North America, and throughout Europe, Asia, South America, and Australia. His regular professional activities also include solo and chamber music recitals, conducting, teaching, lecturing, and writing. James is well known for championing new music, including neglected masterpieces from the 20th century. On the Naxos label, he recorded award-winning CDs of the Samuel Barber concerto — which he will be performing with the DPO November 15 — and the concerti of Walter Piston and received a Grammy nomination for his recording of the Samuel Barber violin concerto. World premiere performances include works by Charles Wuorinen, Donald Erb, Ned Rorem, Leon Kirchner, John Harbison, and Yehudi Wyner. James’ early training was at the Juilliard School where he was a pupil of Ivan Galamian, and he continued his studies at Harvard University where he majored in Renaissance Art. He and his wife, cellist, Carol Ou, reside in Boston where he is Professor of Violin at New England Conservatory.
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24 hours to give where you live
Support us on Colorado Gives Day! Tuesday, December 10 online at ColoradoGives.org 100% goes to charity
#COGivesDay
Learn more at ColoradoGivesDay.org
NEW BEGINNINGS  13
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KORNEL THOMAS ASSOCIATE CONDUCTOR Kornel was born in Pittsburgh and grew up in Budapest where he began his musical education studying the violin, piano and composition. He majored in composition at the St. Stephen King Music What should you listen for? What is the music’s historic and cultural context? Join me at 6:45 pm
Conservatory and High School. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna.
for a pre-concert chat for insights into the
For the past three summers, Kornel has attended the presti-
music and music-makers
gious Pierre Monteux School for Conductors and Orchestral
you will hear during the
Musicians with the Quimby Family Foundation Scholarship. In
performance.
2013, he was a semi-finalist at the Sao Luiz Teatro Municipal and the Orquestra Metropolitana de Lisboa Young Conductors Competition, and he had his debut in the Vienna Musikverein with the ORF Radio Symphony Orchestra Vienna in 2012. Kornel was selected as music director for the 2010 Opera Project of the Media Composers from the University of Music and Performing Arts Vienna. From 2004–2006, he served as Assistant Conductor of the St. Stephen King Youth Symphony Orchestra. And in 2006, Kornel won second prize at the Bela Bartok Hungarian National Competition in Composition. In addition to the DPO, Kornel is also the assistant conductor and orchestral manager of the Lamont Symphony Orchestra and Opera Theater in Denver. He lives in Denver where he is also pursuing an Artistic Diploma in Orchestral Conducting.
NEW BEGINNINGS 15
PAULINE DALLENBACH CELEBRATES 50 AMAZING SEASONS WITH OUR ORCHESTRA!
GOLDEN ANNIVERS FOR A GOLDEN MU Fifty years ago today, Pauline played her first concert with this orchestra, then known as the Denver Businessmen’s Orchestra. Since 1963, she’s played and served the orchestra under each of its five conductors, including founder Antonia Brico. DPO board president Jon Olafson says it best: ”Pauline embodies one of our core principles, performing music for the joy of it.” Pauline, thank you for donating 50 years of your time and talent to our Orchestra. You’re truly a treasure to our entire community.
PAULINE A. DALLENBACH
rehearsals, storage of the orchestra’s
VIOLIN
music library, instruments and equipment
FIFTIETH DPO SEASON. In 1928, at age
since the orchestra began using the space
2, Pauline first sang on KPOF Radio and
in 1964. As a former teacher in K-12 and
continues to participate in the station’s
college, Pauline has written numerous
broadcasting. Since 1963, Pauline and
school plays and musical productions,
her husband, Dr. Robert Dallenbach,
produced the Symphony of Words, and
have served the orchestra, ranging from
authored the book Dear Friends. She
recording and broadcasting DPO con-
enjoys writing and extensive reading
certs to maintaining extensive orchestra
which fortifies and contributes to the
archives. Dr. Dallenbach was president of
ministries of the Pillar of Fire. In 1949,
the Board for many years and broadcasts
she received her Bachelor’s degree in
our concerts on KPOF 910 AM. Pillar of
Mathematics from Alma White College
Fire has provided facilities for concerts,
in New Jersey and her Master’s degree
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ARY SICIAN
Pauline Dallenbach flips her sheet music as she rehearses with the Denver Philharmonic Orchestra at the KPOF Hall in Denver, Colorado on November 4, 2013. Pauline Dallenbach is celebrating her 50th year in the Denver Philharmonic Orchestra. Even in her late 80s, she still attends every rehearsal, concert and board meeting. (Photo by Seth McConnell/The Denver Post)
in Communications and Theatre in 1982
Symphony, Centennial Philharmonic
from the University of Colorado. Over
Orchestra and the Denver Philharmonic
82 years of playing violin, Pauline has
Orchestra. Granddaughter of Alma White,
performed with Westminster Symphony
founder of the Pillar of Fire, Pauline is an
Orchestra, Brown University Orchestra,
ordained elder in the Church. She also
Denver Businessmen’s Orchestra, Brico
plays piano, organ, and saxaphone.
NEW BEGINNINGS  17
OUR ADMIN VOLUN EXECUTIVE DIRECTOR Valerie Clausen
BOARD OF DIRECTORS
PRESIDENT Jon Olafson VICE-PRESIDENT Eleanor Glover SECRETARY Maureen Keil TREASURER Allison Lausten Pauline Dallenbach, Honorary Member Robert Dallenbach Amanda Hand Linda Lebsack Russell Klein Tenley Oldak Roger Powell
DENVER PHILHARMONIC FOUNDATION BOARD
BACKSTAGE COORDINATORS Doug Gragg Anna Schultz Jän Schultz
BOX OFFICE/ TICKET SALES Gil Clausen Carla Cody Amanda Hand Annie Laury Jon Olafson Anna Schultz
CONCERT NOTES Dr. Suzanne Moulton-Gertig
Michael P. Barry Keith Fisher Allison Lausten Roger Powell
CONCERT RECORDING
CONDUCTOR LAUREATE
Ligature Creative Group, design Walker Burns, editing Elizabeth Wall, editing
Joel Dallenbach
CONCERT PROGRAM
Dr. Horst Buchholz
FUNDRAISING Gil Clausen Eleanor Glover Allison Lausten Jon Olafson
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TEERS LIBRARIAN
PUBLICITY
Callista Medland Alyssa Oland, assistant
Niccolo Casewit Dr. Robert Dallenbach Eleanor Glover Amanda Hand Matt Meier Jeff Paul David Sherman
ORCHESTRA ROSTER Annie Laury
OUTREACH Lok Jacobi Maureen Keil Linda Lebsack
USHERS & RECEPTION COORDINATORS
PARKING ADVISOR Hugh Pitcher
PERSONNEL MANAGER Roger Powell Annie Laury, assistant
Gil Clausen Doug Gragg Lok Jacobi Allison Lausten Roger Powell Robert Schoenrock
WEBMASTER
PRE-CONCERT SLIDES
Nick Croope
Amanda Hand Alex Thomas
VOLUNTEERING OPPORTUNITIES Our orchestra is run by volunteers, with no paid administrative staff. We greatly appreciate help from more volunteers in the areas of publicity, fundraising, concert production, receptions, personnel, and outreach. If you would like to participate in any of these activities, please contact executive director Valerie Clausen at 303.653.2407 or email at vclausen@denverphilharmonic.org.
NEW BEGINNINGS  19
NOVEMBER 15 ∙ INAUSPICIOUS BEGINNINGS by DR. SUZANNE MOULTON-GERTIG
Fidelio Overture, Opus 72c Ludwig van Beethoven (1770 – 1827) Dateline Vienna. November 20, 1805. How could anything go correctly? One week after Napoleon and his troops entered Vienna, the Theater an der Wien presented the première of the first version of Leonore, which would eventually become Fidelio by 1814 in its final version. This was incredibly poor timing; opera
Leonore uses as a disguised male while
goers (and anyone else with any sense)
aiding her political prisoner husband to
had fled the city, leaving virtually only the
escape from prison), the opera reopens at
French soldiers to attend (who possibly
the Kärtnertortheater in Vienna to great
took umbrage with the plot of a man’s
success and immense relief to its com-
struggle for liberty against tyranny). Is
poser. This final triumph was no mundane
there any question why the opera was can-
accomplishment, however. Between the
celed after only three performances?
original première and the 1814 opening, Beethoven revised the opera twice, com-
Fast forward to May 23, 1814, when,
posed three more overtures, and was most
under the new title Fidelio (the name that
likely swindled by the Theater an der Wien
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management in an 1806 revival of the
predecessors. In addition, unlike the
production.
Leonores, this overture is set in the key of E, the same key as the character Leonore’s
With the Fidelio overture, Beethoven
main aria, which represents the hope and
abandons the musical principles of the
heroism of her role. The overture contains
three Leonore overtures and composes
no thematic material from the opera itself,
a completely unique offering which
but musically attempts to portray the ide-
is simpler and more succinct than its
als of heroism, hope, and freedom.
NEW BEGINNINGS  21
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Concerto for Violin and Orchestra, Opus 14 Samuel Barber (1910–1981) Once in print, erroneous information dies a very slow death. Such is the case with the commission and debut of the Barber violin concerto. First, the old story which, if true, would have made this work one of very inauspicious beginning. For many years the following narrative was thought to be true: In the spring of 1939, Samuel Barber,
Iso Briselli. This is where truth ends in
who had just returned to the United
the 1950s story of the work and fiction
States after spending three years abroad
begins. According to early Barber
as a result of winning the Prix de Rome
biographer Nathan Broder, “When the
in composition, received a commission
movement was submitted, the violinist
from a wealthy Philadelphia industrialist
declared it too difficult … and Barber,
named Samuel Fels to compose a violin
who had already spent [his advance] in
concerto for one of Barber’s Curtis
Europe, called in another violinist … who
Institute classmates (and Fels’ ward)
performed the work for the merchant
NEW BEGINNINGS 23
and his protégé, to prove that the finale
it was not well received. Far from being
was not unplayable.”
“too difficult,” as the Broder biography asserts, the movement, in particular, did
Enter musicological primary source re-
not please Briselli’s violin coach, Albert
search in the twenty-first century: In 2010,
Meiff who found it “unviolinistic.” At this
correspondence from the Samuel Fels
juncture, Meiff proposes to have all three
Papersat Papers in the Historical Society
of them meet and have both first and
of Pennsylvania refutes the Broder biogra-
second movements “in the violin part
phy claim that violinist Iso Briselli rejected
altered” (Meiff found fault with these, as
the concerto because he found the third
well) and Barber to receive “advice” from
movement too difficult. Barber gave
Meiff on the third movement to make it
Briselli the first two movements in the
more “violinistic” (which did not mean
fall of 1939 and Briselli was pleased with
that it was not playable — even Briselli
them. In late November, Briselli received
admitted to such). In the end, under
the final movement from the composer
considerable pressure from Meiff not to
but, unlike the previous two movements,
give the premiere at the insistence that it
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would hurt his career, Briselli relinquished
The long, beautiful, and dark toned prin-
the première. Subsequently, the work
cipal melody of the second movement is
was enthusiastically embraced by violinist
given in turn to oboe, cello, clarinet, vio-
Albert Spaulding, who gave the first per-
lins and horn before the solo violin makes
formance with the Philadelphia Orchestra
its first entry. The soloist dominates the
in February 1940.
more agitated middle section, which ends with another accompanied cadenza, and
Describing the concerto, British writer
then remains in the foreground during the
Richard Thompson says the following:
impassioned return of the first section.
“The concerto is quite clearly divided
“Barber’s own program note for the first
between the first two lyrical movements
performance in 1941 contains something
and the explosively energetic finale. The
of an understatement: “The last move-
opening allegro, in G major, is dominated
ment, a perpetual motion, exploits the
by the long expansive melody which the
more brilliant and virtuoso characteristics
soloist unfolds right at the outset, without
of the violin.” In fact, what the listener
any sort of orchestral introduction. The
hears are racing triplet figures which
most important subsidiary idea is a clar-
are maintained for page after page by
inet melody with a short-long rhythmic
the soloist, only interrupted by driving
stress, sounding almost Scottish in its in-
off-beat accents or cross-rhythms in the
flections. These two themes feature in the
orchestra. The movement is all rhythmic
central development section, and after a
drive, with the soloist’s final gear change
full recapitulation and short accompanied
from triplets into semiquavers near the
cadenza, (Barber is known to have had an
end significantly increasing the excite-
aversion to conventional cadenzas), both
ment and impetus.”
melodies also appear in the quiet coda.
We’re into connections. LigCreative.com
NEW BEGINNINGS 25
Symphony No. 5 in E Minor, Op. 64 Peter Ilyich Tchaikovsky (1840 – 1893) After the first performances of his fifth symphony, Tchaikovsky wrote to his patroness, Madame Nadejda von Meck in November of 1888, “I find the symphony a failure. There is
It is interesting that one of the composer’s
in it something repellent, something
most revered symphonic works should be
superfluous, patchy and insincere. Am I
so defamed by its creator. It is little wonder
really played out, as they say? Can I merely
that this symphony mirrors all the powerful
repeat and ring the changes on my earlier
and contradictory emotions the composer
idiom? Last night I looked through our
was suffering at the time of its composition,
Symphony [the fourth]. What a difference!
and greater wonder that Tchaikovsky did
How immeasurably superior it is! It is very,
not recognize those emotions as they are
very sad.”
played out so poignantly in his symphony.
From this statement, it is clear that here is
Although he fashioned no special program
an individual plagued by self-doubt who is
for the Fifth Symphony, Tchaikovsky’s
convinced that he is out of musical ideas.
sketchbooks indicate an overall plan with a
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recurring theme to resemble a continuing
the first movement. The sonata form proper
struggle with Fate that wrestles from
starts with a melancholy melody intoned
despair (in the minor key) to a major-key
by bassoon and clarinet over a stark string
release. This Fate theme plays an essential
accompaniment. The woodwinds enter
role in each of the four movements and
with wave-form scale patterns followed by a
changes in spirit throughout the symphony.
stentorian passage for the brass that leads to a climax. Several themes are presented
Writer Richard Rodda explains the four
to round out the exposition: a romantic
movements linked by the Fate theme:
tune, filled with emotional swells, for the strings; an aggressive strain given as a
“The “Fate” motto theme [is] given
dialogue between winds and strings; and a
immediately at the beginning by unison
languorous, sighing string melody. Again,
clarinets as the brooding introduction to
the brasses are brought forth to climax this
NEW BEGINNINGS 27
section. All of the themes are treated in the
“If the second movement derives from
development section. The solo bassoon
opera, the third grows from ballet. A
ushers in the recapitulation, and the themes
flowing waltz melody (inspired by a street
from the exposition are heard again,
song Tchaikovsky had heard in Italy
though with changes of key and instrumen-
a decade earlier) dominates much of
tation. After a final climax in the coda, the
the movement. The central trio section
movement fades, softer and slower, and
exhibits a scurrying figure in the strings
sinks, finally, into the lowest reaches of the
which shows the influence of Léo Delibes,
orchestra.
the French master of ballet music whom Tchaikovsky deeply admired. Quietly
“At the head of the manuscript of the
and briefly, the Fate motto returns in the
second movement Tchaikovsky is said to
movement’s closing pages.
have written, “Oh, how I love … if you love me…,” a sentiment that calls to mind an
“The finale begins with a long intro-
operatic love scene. (Tchaikovsky, it should
duction based on the Fate theme cast
be remembered, was a master of the musi-
in a heroic rather than a sinister or mel-
cal stage who composed more operas than
ancholy mood. A vigorous exposition,
he did symphonies.) The expressiveness
a concentrated development and an
of the opening theme, hauntingly played
intense recapitulation follow. The long
by the solo horn, is heightened as the
coda uses the motto theme in a ma-
movement proceeds through enriched con-
jor-key, victory-won setting. This stirring
trapuntal lines and instrumental sonorities.
work ends with a final statement from the
Twice, the imperious Fate motto intrudes
trumpets and horns, and closing chords
upon the starlit mood of this romanza.
from the full orchestra.”
Learn more about upcoming events from local, community-based organizations at thescen3.org! The Scen3 features the events and performances of SCFD-funded Tier III organizations.
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NEW BEGINNINGS 29
TWEET YOUR HEART OUT CLASSICAL MUSIC, MEET THE 21ST CENTURY During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.
A FEW RULES • PHONES ON — SOUND OFF! We know you want to participate, but let’s leave the music to the pros • ALL THUMBS Tweet tweet tweet all the
night through, but remember, no talking during the concert
• Add the hashtag #DPOtweets to your
posts so your neighbors can follow along • You don’t need a Twitter account to read our tweets (just visit twitter.com/ DenverPhilOrch), but if you’d like to
tweet along with us, you need an account • “PG” tweets only — C’mon, we’ve got kids here
#DPOTweets @DenverPhilOrch 30
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NEW BEGINNINGS 31
CONCERT ETIQUET If you are attending your first classical music concert, below are some frequently asked questions to help make your experience more enjoyable.
BE COMFORTABLE
APPLAUSE 101
There’s no dress code. From jeans to
Many concertgoers are confused about
suits, you’ll see it all! Wear what you’d
when to clap during an orchestra’s perfor-
like — you’ll fit in. We love you just the
mance. Before the mid 19th century, audi-
way you are.
ences would routinely applaud between
COUGHING
movements to show their joy for the music they just heard. Around the mid 19th
Ahem… Try to ‘bury’ your cough in a loud
century, it became tradition in Germany
passage of music. If you can’t or you begin
for audiences to wait until the end of the
to cough a lot, don’t worry — it’s perfectly
piece to clap, sitting silently between
acceptable and appropriate to quietly exit
movements. That tradition spread and is
the concert hall. Remember to unwrap
now commonly accepted and taught. At
cough drops before the concert so you
the DPO, we welcome both traditions. If
don’t create crackling noises.
you prefer to wait for the end of a piece, that is fine. If you want to respectfully
CRY ROOM Child feelin’ fidgety? We have a designated cry room at the back of the hall on the right side of the lower level (as you enter the hall). The room is marked with a sign.
32
show your appreciation between movements, we welcome that too. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
TE ELECTRONICS
SOCIAL MEDIA
Please turn the sound off on your cell
Feel free to tweet, post to Facebook or
phones, pagers, and any other noise-
take photos without flash. Upload your
making device, including vibrate mode.
pics and comments online — and be sure to tag us! @denverphilorch #dpotweets
NEW BEGINNINGS 33
ORCHESTRA SPOTLI Who are the hard-working men and women behind those music stands? Get to know your orchestra! Each concert, we spotlight a few of our talented musicians here in the program. Tonight, meet Steve, Rebecca and Ryan—
STEVE BULOTA
REBECCA COY
TIMPANI
CELLO
TWENTY-FOURTH DPO SEASON. Steve
FIRST DPO SEASON. As a Miami native,
received his first musical instruction in
Rebecca is an advanced scuba diver and
piano and theory from his grandmother at
loves adventurous activities. At 9 years
an early age. In 6th grade, he began taking
old, she began on the cello and has
drum lessons and started playing timpani in
now been playing for 13 years. During
high school at the suggestion of his band
high school, she had the opportunity to
director. And in 1981, Steve taught himself
perform at Carnegie Hall and in Prague.
how to play the accordion. Since moving
She began college as a music major at
to Colorado in 1980, he’s played with the
the University of South Florida. Under
Aurora Symphony, Lakewood Symphony,
the direction of Scott Kluksdahl, a former
Littleton Symphony, Brico Symphony,
student of Leonard Rose, she was an active
Denver Concert Band, and he is the current
member of the cello studio, performed
timpanist of the Colorado Wind Ensemble.
with the orchestra and played in chamber
He has a BS in Music Education from the
music groups. After studying abroad and
University of Connecticut and an AOS in
learning Arabic, she changed her major
Electronics Technology from the Electronic
and received her degree in International
Technical Institute of Denver. Steve
Relations. Rebecca’s a recent nominee of
works as a Customer Support Technician
the Peace Corps, awaiting her invitation to
for Micro Motion in Boulder. Fluent in
a country. In the meantime, she works at
Lithuanian, he serves on the Board of
Nordstrom, volunteers, hikes, climbs and
the Lithuanian-American Community of
performs with us.
Colorado and is the editor of their bilingual newsletter. He enjoys photography and has been a transit buff for many years. And as a native of South Bend, Indiana, he’s an avid Notre Dame football fan. 34
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
GHT RYAN SPENCER
in Canton, Ohio. Ryan composes for small
TRUMPET
and large ensembles and arranges music
FIRST DPO SEASON. Born in Georgia,
for high school and college marching
but now a Colorado transplant, Ryan
bands. In 2008, he earned his bachelor’s
loves snowboarding, cycling, running,
degrees from CU-Boulder in composi-
and hiking, and — in true Boulder fash-
tion and trumpet performance with a
ion — recently started doing some yoga.
certificate in music technology. When not
He’s been playing trumpet for over 14
playing or teaching music, Ryan’s serving
years, and along with the DPO, Ryan also
at P.F. Chang’s China Bistro in Broomfield,
performs with the Boulder Symphony
bartending performances at the 1stBank
Orchestra and the Colorado Wind
Center, or running tech for Pine Street
Ensemble. He teaches high school march-
Church in Boulder. He enjoys reading and
ing band, gives private lessons and teach-
writing, and will be applying to graduate
es the Bluecoats Drum and Bugle Corps
school for trumpet performance next fall.
NEW BEGINNINGS 35
PUBLIC SUPPORT THE SCIENTIFIC & CULTURAL FACILITIES DISTRICT The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations. A penny sales tax on every $10 purchase within the sevencounty region (Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas and Jefferson counties) supports nearly 300 institutions, including the DPO, that provide unique cultural and scientific experiences for millions of people each year. Many of the programs SCFD supports provide free and discounted access to citizens. For information on free days and organizations, visit www.scfd.org.
36
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
Linda M. Lebsack Books (out-of-print, rare, unusual, locally published)
Specializing in Colorado & the West, Architecture, American Art & Artists, Photography, Railroading, General subjects, Postcards and Paper Ephemera Local History a specialty
7030 E. 46th Ave. Dr. Unit H - Denver (near I-70 and Quebec) Open Monday, Tuesday, Friday & Saturday noon - 6 p.m. Other times by appointment or chance. Free printed catalogues and E-Mail lists of interesting new arrivals. Send a postcard, call or email to get on the mailing list.
LinLebBks@aol.com 303-832-7190
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Need Sheet Music?
Used & Out of Print in very good condition! All instruments & thousands of songs Shop TJ’s Music in the Broadway Book Mall 200 S. Broadway, Denver Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m. 303-744-2665
NEW BEGINNINGS  37
QUICK DONATE! Text “dpo” to 50155
INDIVIDUAL GIVING
since January 2013
ORCHESTRA’S CIRCLE
CONTRIBUTOR
Gil and Valerie Clausen
Eleanor Glover
($20,000+)
CONDUCTOR’S CIRCLE
($100 – $299) Lok Jacobi Wolcott F. Rice
($5,000+)
Catherine Ricca
SCFD
Drs. Mark and Maxine Rossman
CONCERTMASTER’S CIRCLE ($2,500 – $4,999)
MUSICIANS’ CIRCLE
Thomas James Merry Robert J. Smith John and Carol Tate
FRIEND
(UP TO $99)
($1,000 – $2,499)
Anonymous
Linda M. Lebsack Books
Suzanne Mueller
PATRON
($500 – $999)
IN-KIND SUPPORTERS
Jon Olafson
The Pillar of Fire Church
MeeAe Nam
Ligature Creative Group
BENEFACTOR
Newberry Brothers Greenhouse and Florist
($300 – $499) Russell Klein Roger Powell
38
THANK YOU! 2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
CORPORATE GIVING GOLD PARTNER ($10,000+)
SILVER PARTNER ($5,000–$9,999)
COPPER PARTNER ($1,000–$4,999) Fennemore Craig
CORPORATE SUPPORTERS (UP TO $500)
Alliance Data on behalf of Jonathan Fetherolf CoBank on behalf of Brian Lucius
NEW BEGINNINGS 39
QUICK DONATE! Text “dpo” to 50155
IT TAKES A COMMU Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra. INDIVIDUAL GIVING
DONATION AMOUNT
Orchestra’s Circle
$20,000 or above
Conductor’s Circle
$5,000 – $19,999
Concertmaster’s Circle
$2,500 – $4,999
Musicians’ Circle
$1,000 – $2,499
Patron
$500 – $999
Benefactor
$300 – $499
Contributor
$100 – $299
Friend
up to $99
The 66 Society*
$66 or above
CORPORATE GIVING
DONATION AMOUNT
Gold Partner
$10,000 and above
Silver Partner
$5,000 – $9,999
Copper Partner
$1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s birthday, anniversary, or in memory of a loved one. * Celebrate our sixty-sixth season by joining THE 66 SOCIETY Any supporter who contributes $66 or more will receive a reusable, DPO-branded, Chico grocery bag as a thank-you gift.
40
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
NITY If you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:
PO Box 6074 Denver, CO 80206 or visit our website at DenverPhilharmonic.org and click on the DONATE link.
Contribution $
Check or Credit Card
Name Address City, State, Zip Code Telephone
Credit Card No.
Exp.
NEW BEGINNINGS 41
QUICK DONATE! Text “dpo” to 50155
CONTACT US! PO Box 6074 Denver, CO 80206 303.653.2407 fb.com/denverphilorch @denverphilorch DenverPhilharmonic.org
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2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N